Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Turkey and from Salvador.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1976.
I'm losing my edge.
To all the kids in Salvador and Salvador.
I'm losing my edge to the art-school Paris kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1971 at the first Selda practice in a loft in Istanbul.
I was working on the arpeggiator sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Stetsasonic to the punk kids.
I played it at the Spitz.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Rotary Connection. All the underground hits.
All Avey Tare's Slasher Flicks tracks. I heard you have a vinyl of every The Gap Band record on German import.
I heard that you have a white label of every seminal dance hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '90s.
I hear you're buying a guitar and a 808 and are throwing your macbook out the window because you want to make something real. You want to make a Sly & The Family Stone record.
I hear that you and your band have sold your marimba and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought a marimba.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Divine Comedy,
Jesper Dahlback,
The Dave Clark Five,
Thee Headcoats,
Tomorrow,
Bluetip,
Susan Cadogan,
Faraquet,
Robert Wyatt,
Inner City,
The Electric Prunes,
These Immortal Souls,
Nick Fraelich,
D'Angelo,
The Shadows of Knight,
Henry Cow,
Absolute Body Control,
Bang On A Can,
The Royal Family And The Poor,
Sun City Girls,
kango's stein massive,
Whodini,
The Vogues,
Tubeway Army,
Scratch Acid,
Juan Atkins,
Soft Machine,
Thinking Fellers Union Local 282,
The Cowsills,
Deutsch Amerikanische Freundschaft,
Sunsets and Hearts,
Mantronix,
Bobby Sherman,
Liliput,
Wally Richardson,
Monks,
Cameo,
Pharaoh Sanders and the Fire Engines,
Richard Hell and the Voidoids,
The Slackers,
Boogie Down Productions,
Gang Green,
Royal Trux,
FM Einheit,
Freddie Wadling,
Marmalade,
The Barracudas,
Lower 48,
Zapp,
AZ,
Echo & the Bunnymen,
The Pretty Things,
Rowland S Howard / Lydia Lunch,
Bauhaus,
Cluster,
Moby Grape,
The United States of America,
Television,
Depeche Mode,
the Soft Cell,
Wings, Wings, Wings, Wings.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.